Abstract

The following article deals with the arc shot camera technique, which is often dismissed as stylistic play (as the famous director of photography Michael Ballhaus, for instance, has argued). The article will have a look at three films – „Vertigo“, „Casualties of War“, and „Lola rennt“ (›Run Lola, Run‹) – to explore the often underrated aesthetic potential of the arc shot device. My thesis is that we better understand the aesthetic function of camera technique if we view the arc shot in terms of its interplay with the films' underlying system of semiotic codes.